PAPER I - POETRY
1. YEAR 2005
Attempt FIVE questions in all. Question No. 1 is COMPULSORY. All questions carry equal marks.
1. Explain any THREE of the following extracts with reference to the context. (20)
(i) A multitude, like which the populous North
Pour'd never from her frozen loins, to pass
(ii) Is not short pain well borne, that brings long ease,
And lays the soul to sleep in quiet grave?
Sleep after toil, port after stormy seas,
Ease after war, death after life, does greatly please.
(iii) Then gay ideas crowd the vacant brain,
While peers and dukes, and all their sweeping train,
(iv) With varying vanities, from every part,
They shift the moving top shop of their heart
(v) God loved the best, with all his boole herte
At all tymes though him gamed a somerte
And thane his neighebore right as hymselne
2. Chaucer possesses all the characteristics of a great humorist. He is a Renaissance gentleman mocking at the middle ages. Comment and give examples from the text of the prologue to the 'Canterbury Tales'. (20)
3. Write a note on Milton's use of epic similes in 'Paradise Lost Book I' (20)
4. Pictorial quality is the greatest characteristic of Spenser's poetry. Discuss and give examples from the Faerie Queen'. (20)
5. While portraying Belinda's character in 'The Rape of the Lock', Alexander Pope has successfully exposed the hollowness of female folk of a class of society. (20)
6. Illustrate with examples from 'Paradise Lost' by John Milton the various elements that combine to form the 'The Grand Style'. (20)
7. Write an essay on the points of similarity and points of difference between John Donne's love poems and Divine poems. (20)
8. In what sense is Chaucer a modern poet? (20)
9. Write short notes on any TWO of the following. (10,10)
(i) Spenserian Stanza
(ii) Invocation of Paradise Lost
(iii) Donne's Love Poetry
(iv) Pope's Use of Supernatural Machinery
2. YEAR 2006
3. YEAR 2007
Attempt FIVE questions in all. Questions No. 1 is COMPULSORY. Attempt FOUR other questions in such a manner as to select at least ONE questions from each section. All questions carry equal marks.
1. Critically appreciate any FOUR of the following. (20)
(i) 'Thanne longen folk to goon on pilgrimages'
(ii) Better to rule in Hell, than serve in heaven'
(iii) 'Busy old fool unruly sun'
(vi) 'No! I am not Prince Hamlet, no was meant to be;
Am an attendant lord, one that will do'
(v) 'Where youth grows pale, spectre-thin and dies
Where but to think is to be full of sorrow'
(vi) 'Fair seed time had my sould and I grew up
Fostered alike by beauty and by fear'
(vii) 'Heard melodies are sweet but those unheard are sweeter'
3. Give comparative estimate of the characters of Satan and Adam in 'The Paradise Lost'. (20)
4. Discuss Donne as a love poet. (20)
6. What is the role of imagination and reality in Keats' Odes? (20)
7. All the Romantic poets compare poetry on diverse themes. What makes them Romanitcs? (20)
1. Critically appreciate any FOUR of the following. (20)
(i) 'Thanne longen folk to goon on pilgrimages'
(ii) Better to rule in Hell, than serve in heaven'
(iii) 'Busy old fool unruly sun'
(vi) 'No! I am not Prince Hamlet, no was meant to be;
Am an attendant lord, one that will do'
(v) 'Where youth grows pale, spectre-thin and dies
Where but to think is to be full of sorrow'
(vi) 'Fair seed time had my sould and I grew up
Fostered alike by beauty and by fear'
(vii) 'Heard melodies are sweet but those unheard are sweeter'
SECTION I
2. Determine the literary status of 'The Prologue to the Canterbury Tales' in English Literature. (20)3. Give comparative estimate of the characters of Satan and Adam in 'The Paradise Lost'. (20)
4. Discuss Donne as a love poet. (20)
SECTION II
5. Nature serves as a 'ministry of beauty and fear' for Wordsworth. Discuss. (20)6. What is the role of imagination and reality in Keats' Odes? (20)
7. All the Romantic poets compare poetry on diverse themes. What makes them Romanitcs? (20)
4. YEAR 2008
5. YEAR 2009
6. YEAR 2010
7. YEAR 2011
8. YEAR 2012
9. YEAR 2013
10. YEAR 2014
PAPER II - DRAMA
1. YEAR 2005
2. YEAR 2006
3. YEAR 2007
4. YEAR 2008
5. YEAR 2009
6. YEAR 2010
7. YEAR 2011
8. YEAR 2012
9. YEAR 2013
10. YEAR 2014
PAPER III - NOVEL
1. YEAR 2005
2. YEAR 2006
3. YEAR 2007
4. YEAR 2008
5. YEAR 2009
6. YEAR 2010
7. YEAR 2011
8. YEAR 2012
9. YEAR 2013
10. YEAR 2014
PAPER IV - CRITICISM
1. YEAR 2005
2. YEAR 2006
3. YEAR 2007
4. YEAR 2008
5. YEAR 2009
6. YEAR 2010
7. YEAR 2011
8. YEAR 2012
9. YEAR 2013
10. YEAR 2014
PAPER V - LINGUISTICS
1. YEAR 2005
2. YEAR 2006
3. YEAR 2007
4. YEAR 2008
5. YEAR 2009
6. YEAR 2010
7. YEAR 2011
8. YEAR 2012
9. YEAR 2013
10. YEAR 2014
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